Tuesday, September 7, 2010

The panel used as an illustration in the original New Guard article. From Tales to Astonish #60; written by Stan Lee, penciled by Dick Ayers, inked by Paul Reinman.

Bigger than the Birch Society, YAF and the Americans for Constitutional Action all rolled into one, there has recently emerged on the contemporary scene a new potentially right-wing organization of formidable power—the Merry Marvel Marching Society. This extremist group, cleverly disguised as an innocent venture in comic-book publishing, is busily undermining the minds of our nation’s youth and indoctrinating them in a set of beliefs which can only be described as patriotic and wholesome. As Perry White of the old Superman comics would say—“Great Caesar’s Ghost!” What is the world coming to?

Yes, unbeknownst to the Liberal Press, the minds and hearts of America’s college youth are being subtly spirited away by a group of tongue-in-cheek artists and writers in New York City.

Thanks again to the indefatigable researches of Sean Howe, another historical oddity has been drawn to our attention: a 1966 piece on the (admirable, in the author’s view) right-wing subtext of Marvel Comics. It was originally published in The New Guard, the official publication of the Young Americans for Freedom, and the author, David Nolan, went on to co-found the Libertarian Party and is currently campaigning for a senate seat in Arizona.

This is interesting from multiple angles, whether considered in the context of Marvel legend Jack Kirby’s JFK liberalism, Alan Moore’s condemnation of superhero comics as connected to American militarism, or the current climate of “realistic” superhero comics—to name just a few possibilities.

Monday, July 12, 2010

Detroit, 1963: Alberta Hunter, black, and Walter Stovall, white, arrive in town, five days after unsuccessfully attempting a marriage in Ohio, and seven days after graduating from the University of Georgia. At the University, Hunter and classmate Hamilton Holmes had been the first two black students accepted for enrollment, a desegregation that had been covered extensively by Calvin Trillin in The New Yorker. Now, before they themselves settle in New York City, Hunter and Stovall go before a Detroit judge. They’re accompanied by a young white couple, Harvey and Karen, who have traveled with them from Cleveland to serve as witnesses.

They are finally wed on June 8. Because of Hunter’s history in the newspapers as a civil-rights figure, the marriage, secret for three months, becomes a mini-scandal in September—especially in Georgia, where such a union is illegal. Upon hearing of the marriage, Georgia Attorney General Eugene Cook responded, “We’re waiting to put both of ’em in jail.”

They never went to jail, of course. Alberta became better known as Charlayne Hunter-Gault; she was the first black staff member at The New Yorker, and an Emmy- and Peabody-award-winning broadcaster. While working at the New York Times, she successfully lobbied to have the paper change “Negro” to “black” in its standard usage. She and Stovall had a daughter before divorcing.

Harvey and Karen, the other young married couple who accompanied Hunter and Stovall from Cleveland to Detroit, were also divorced, in 1972.

Had the couples only met that week, when Hunter and Stovall breezed through Cleveland? There’s nothing to suggest why their paths would have intersected, except that Harvey apparently made friends easily with out-of-towners. In June of 1963, he was working odd jobs, collecting records, writing reviews for Downbeat, and talking about comics with another new friend, a recent Philadelphia transplant named Crumb.